Important Sites of Early Classical Music
The composition and performance of orchestral music at the court of Mannheim was that of the professional musician lead by a composer of some standing or accomplishment. In 1723 there are 12 violins and assortments of 2 to 6 other instruments from the other string families along with horns, oboes, flutes, and the occasional timpani. By 1763 the orchestra size has doubled to 24 violins and a respective increase of other players, with the notable increase of some 13 trumpets. The increase in size can be attributed to the increase of notoriety and popularity of the reputation of Mannheim, due to its political leaders, Carl Phillip and Carl Theodor. These two Electors of the Holy Roman Empire at the time were music enthusiasts who spent a great deal of effort and money supporting this facet of their palace and holdings at the Mannheim Court. It is further supported that it was these two Electors, and not the location, that held influence by the fact that after the Electoral Palace is moved to Munich in the early 1780’s, Mannheim’s influence and popularity quickly fades. Johann Stamitz is one of the more noteworthy musicians to take the reins at Mannheim. His pay was much higher than the average concertmeister, and during his period there is a sizable increase to the ensemble that holds until its demise. Stamitz’s Pastoral Symphony in D is a fine example of the musical influence he brought to the court, which included the tonal painting style that had come into fashion by the mid-18th century. He is noted of his proper treatment of the flute, that he “knew how to give the instrument its proper lightness and melody”[1]. Musicians at Mannheim generally enjoyed long stays, with family members often taking their posts upon their leave either by retirement or passing, and the professionalism of the orchestra was noted by many visitors. C.F.D. Schubert is credited by calling it the “Musical Athens of Germany”[2]. The typical evenings fare would consist of a symphony, then several concertos alternating freely with vocal works such as arias and duets. The finale was usually a symphony or a larger vocal ensemble such as a trio or quartet.[3]
The composition and performance for the orchestral music at Esterhazy was very different in its audience, but similar in many ways to Mannheim in that the principle leaders Paul Anton, then Nicholas I, were music enthusiasts, and responsible for the emphasis and growth of the orchestra and its excellence. While not hubs of interest to travelers and people of importance, Esterhazy was a place of political import, and its court concerts were of great renowned. One of the primary differences were because instead of there being multiple musical influences by composers, Esterhazy was successful primarily due to the genius of one Joseph Haydn, who spent nearly 5 decades there as what would be considered the court musician. This equated to roughly 29 years of actual service, the other years spent later in his life on paid leave to London, then in his final years in retirement. During his primary years of service, Haydn was free to express himself musically, and often wrote compositions for the sole entertainment of his Lord. Haydn’s Orchestra was very small upon his arrival and in 1761 they are listed as 5 violinists (of which he was probably one of them), A viola, a cellist, a flautist, two oboes, two bassoons, and two horns. He was listed as a house officer and his duties included settling disputes among the musicians, maintain instruments, composing works for them to play, and the competency in which they performed. Haydn’s work in his early years at Esterhazy might be considered program music, that of which was designed either for specific functions or by request of his lord. With this we see works like “Sunrise” and “The Tempest” where Haydn is specifically writing to the same tonal writing styles as the pastoral works that were famous of the time. [4]
The primary similarities between Mannheim and Esterhazy was the rise of the symphony as an important part of the musical tastes of the public, and the Aristocracies role in making that impact. Both courts had lords that loved music and went to great lengths to support its performance and improvement. Both courts attracted, recruited high talent, and increased their size to support larger works and at greater volume. Some of the primary differences were the audiences that both courts received. Mannheim was visited by a broader group of political influences, traders, merchants, and nobility, while Esterhazy was largely at the pleasure of the nobility alone. Another difference was that Mannheim had influence over several great composers of the day, while Haydn was the primary output of Esterhazy. On one hand, this subjected the musicians of Mannheim to the constraints of public opinion, while Haydn had free reign over his creativity. It is debated that this is what ultimately contributed to Haydn’s lasting greatness over his contemporaries. Both areas’ composition and performances made large impacts on symphonic music of the mid to late 18th century, each in their own unique ways.
In London, the concert culture was vibrant. The rising middle-class lead to a whole new brand of concert goer that allowed for multiple organizations to eek out a living at the same time. The career of John Parke illustrates how the average musician, working for multiple ensembles at the same time, earning yearly wages could live comfortably in the large metropolitan city that London had become by the late 1700’s[5]. “London had become a metropolitan center without rival, having grown far more than any other major city in the previous century, especially in comparison with the national population. While France had more than four times the population of England, Paris was half the size of London.”[6]. Organizations for music in London were wide and varied, and during the second half of the century, The King’s Theatre was the first central opera hall in a nations capital to be fully under commercial control rather than court management. These developments are reflective in the popularity of concert life in London by the late 18th century. Most notably, the Hanover Square Rooms in London by 1775. These rooms held concerts hosted by C.F. Abel and J.C. Bach, whose success with this organization eventually lead to them needing bigger concert halls. “In founding this series, Bach and Abel laid down a milestone in the history of London concert life.”[7] Johann Peter Salomon, meanwhile, brought the development of subscription concerts to a successful peak around the 1780’s. Salomon was responsible for bringing Mozart and Haydn to London, and his impact on the city’s concert life is immense. He succeeded where Bach and Abel had tried a decade before. [8] These concert series are highlights of symphonic music in London in the late 18th century. Haydn’s musical influence upon his visit speaks to the “sublime” of the period. This musical texture is present in many of his works and critics noted of this musical texture, “We have seen that Burney singled out his Adagios as sublime; while for Crotch this quality was found in such movements as Symphony No. 82’s Allegretto and also in majestic symphonic introductions.”[9]
Paris was largely impacted by political and philosophical changes in the late 18th century. The regime of Louis the XIV was constantly being questioned, and by 1789 a fierce revolt would upend the monarchy. Enlightenment philosophers would make music the center of their domain during this time. Two great contributors to instrumental music in Paris was the increase in music publishing and the rise of concertos. The institution that easily dominated Parisian life through its durability and frequency of concerts was the Concert Spiritual.[10] It was the first concert series to organize public concerts for a paying audience in Paris. This series had a dramatic impact as it gave local artist a chance to be heard, and after a short period became a venue through which artists could be heard from abroad. In 1770 we see the formation of the Concert des Amateurs, which is noted by Mozart to be “Composed almost entirely of amateurs whose great talents are in no way inferior to those of the cleverest professors.”[11] For compositions of symphonies in Paris during this time, Gossec is largely considered the ‘Father of the French Symphony’ and one of the leading figures in French musical life up to the end of the century. His symphony in C major, Op. 4, no. 4 highlights the rich textures and vibrant display of excitement that his compositions modeled for many to follow. His works were likely performed in Paris during the later half of the century while he was employed as a violinist for de la Pouplinière’s orchestra in August 1753 until his death in December of 1762.[12]
London and Paris were both undoubtably influential places when it came to the rise of instrumental symphonic works of the late 18th century. London’s impressive merchant/middle class and Parisian revolutionary philosophy gave rich breeding ground for great composers to flourish, and both places offer insightful growth for this important genre.
Enjoy the listening example of Johann Stamitz’ Pastoral Symphony in D major, and thanks for reading!
References for this Article:
Daniel Hertz, “Music in European Capitals: The Galant Style, 1720-1780” (Berkley, 1995)
Neal Zaslaw, “Man & Music, The Classical Era”, (Palgrave, MacMillan, 1989)
Simon McVeigh, “Concert Life in London from Mozart to Haydn” (Cambridge, 1993)
John Spitzer, “The Birth of the Orchestra” (Oxford Press, 2004)
[1] D. Heartz – Music in European Capitals, 1720-1780, p.511
[2] N. Zaslaw- Music & Man, The Classical Era, p.213
[3] N. Zaslaw- Music & Man, The Classical Era, p.227
[4] N. Zaslaw- Music & Man, The Classical Era, p.276
[5] J. Spitzer, The Birth of the Orchestra, P.405
[6] N. Zaslaw, Man & Music, The Classical Era, P.301
[7] N. Zaslaw, Man & Music, The Classical Era, P.310
[8] N. Zaslaw, Man & Music, The Classical Era, P.311
[9] S. McVeigh, - Concert Life in London from Mozart to Haydn, P.155
[10] N. Zaslaw, Man & Music, The Classical Era, P.66
[11] N. Zaslaw, Man & Music, The Classical Era, P.68
[12] https://www.isrbx.net/3137732471-deutsche-kammerakademie-neuss-gossec-symphonies-op-4-nos-1-6-2019.html